Filmmaking / Directing : What’s one decision you made on a project that completely changed the outcome, for better or worse? by Ashley Renée Smith

I think for me it was stepping in to narrate part of RoP's table read, which ended up being a rather popular action (not to brag but I've been known to be a good oral reader since I was a kid). As such, I volunteered to narrate both TER and BoFS's table reads. For TER's read, though, it kinda forced me to learn how to be more sparing with my action lines to make it easier on myself. I forgot this lesson in BoFS a wee bit though lol

Ashley Renée Smith What a timely post, I'm just getting ready to go thru that process. Working with a Producer who has guided me to take Dixie Dynamite from a 60 minute show to a 30 minute show. At first, it was a tough consideration but after giving it some thought I am super excited. I start the re-write imminently.....fingers crossed.

As Executive Producer for my latest movie, Frontier Crucible, I gave early guidance about how I wanted us to spend our limited budget to achieve the best Western possible.

https://www.imdb.com/title/tt34370951

I said I wanted the big money in casting spent on the villains. I find movies that lacks compelling villains forgettable. So we biggest names in our casting, outside of William H Macy's cameo, belong to the villain roles. Thomas Jane and Armie Hammer made wonderful, relatable bad guys that our hero got to oppose on film.

Darrell Pennington I really enjoyed reading your work and hope my notes helped.

Ashley Renée Smith hey there! For me it was having an agency in LA contact me telling me they've seen my 3 episodic versions of my series The Savage Roads and telling me they love it but want a 80+ minute version for streaming on Amazon Prime and Hulu as a full length feature! Excited!

Preston Poulter Absolutely. I have those along with the Producer I am working with and ready to start the process....Can't wait to see Frontier Crucible. Glad to see Armie Hammer in anything!

I decided to make the protagonist not just female, but neurodivergent and LGBTQIA-- and it deepened the storyline significantly so it reflects more of the world. I love how the complexities of just BEING who they are have informed their world in different ways.

Preston Poulter I love how you've made the roles into something deeper by spending the money where the story could shine through in better ways.

Hearing my dialogue or lyrics read for the first time is always an eye-opener. An actor can change the meaning of a line entirely into something totally unexpected.

I'm still starting out, but never thought of being a screenwriter in any form. I always thought of writing novels though. I wrote my first full-length novel, "Lucid", while home sick with COVID, and when it was done thought "this would make a good movie", with all the dream sequences in it. The possibilities for visual expression are really only limited by imagination in a story based on other people's dreams being the new form of entertainment!

I then decided to re-write it as a screenplay, and realized there's actually a lot to it. I'd never even seen a screenplay before. So I decided to go back to school to learn how. That really was a turning point in my life and especially as seeing myself as a creative artist with something to say, instead of just being a worker-bee in this world.

I've since graduated with an associate degree in writing for film & TV with honours, am working on my bachelor of creative arts, and write as much as I can when not working my "real" job. That, too, has been a huge life change though. I no longer see myself as an ER nurse. I am a writer, who does ER nursing to fund me while I write. That shift in my mentality has helped me a lot with the stress and PTSD I've got as a result of doing that job.

I gave up a long, successful career as a scientist to start a career as a screenwriter. I jokingly told people that I needed a career with more rejection. As a scientist, 70-80% of my 200+ research papers were accepted for publication in top journals. As a screenwriter, I knew the odds were less -- with only 1 in 1000 scripts getting produced. I went from 2 or 3 rejections per year to 1000 rejections per year (pass or no response). That's a risk I can live with. In both careers, I'm a storyteller. I had 2 movies produced from my first 100 scripts, and more are on the way. I'm beating the odds, and I never give up! I keep writing!

One of the most defining creative decisions in my current project came from shifting the focus of a character’s motivation.

Originally, the story was driven more by external conflict — power, control, and strategic moves. But at a certain point, I realized that what truly elevated the narrative was exploring the emotional weight behind those choices.

By deepening the internal conflict, every interaction gained more tension and meaning. What seemed like a simple strategic decision on the surface started to carry emotional consequences, and that changed the entire dynamic of the story.

It’s interesting how sometimes the real turning point isn’t a big plot twist, but a subtle shift in perspective that reshapes everything.

As a screenwriter, while I was rewriting my script I decided to change the relationship between my main character and his best friend drastically. At first they were really close, but as the protagonist faces a problem that could change his mental health, his best friend that always relied on, distances himself from the protagonist in order not to be affected by that “mental illness”.

I think that this way the story just goes on better and makes much more sense!

"For me, the pivotal decision wasn’t about a filming location or a casting choice; it was a life-altering vow I made during the COVID-19 pandemic. As the eldest son, I felt a profound responsibility toward my family. In a time of global uncertainty, I decided to transform my writing hobby into a professional cinematic project.

My motive went beyond profit; I wanted to create a legacy (IP) that would secure my family's future, ensuring they would never have to depend on anyone. That constraint—the deep-rooted desire to protect those I love—is what pushed me to be more creative and resilient. I learned that the greatest driver for innovation isn’t just inspiration; it is love and responsibility. That single decision shifted my path from a hobbyist to an author dedicated to building a new reality."

When I shot my web series last year of which I exec produced, wrote and acted in, I unfortunately hired a producer/director that had no sense of comedy whatsoever. I hired her because I knew her and she had awards, but neglected to realize she’s never done a comedy. That was a huge mistake. Also, she ended up being very controlling and condescending plus she caused me budget problems. I learned that you really have to vet your crew before you collaborate. I was too assuming and too trusting. Big mistake! Good luck everyone in your creative projects!

In June of 2010, my one and only stage play, JAMES DEAN: CROSSING THE FINISH LINE, was set to open for a 3-night engagement at the Sycamore Rouge Theater in Petersburg, Virginia. My script was selected as a bonus selection during the theater’s season of shows. Rewind 3 weeks. Scripts were given to my selected actors. Many were actor friends of mine who were very eager to chew into an original work. And then it happened. RED ALERT: An actor I had shared the stage with in the previous show that season decided NOT to portray Dean. “OPERATION: INSTANT STRESS,” here we go! I scoured the entire Richmond, VA professional acting world to recast my Dean. Step 1: Find a guy who resembles Jimmy Dean. Step 2. Pray to God that, once found, he has talent!! Luckily, I remembered a 21-year-old crew member that worked backstage when I performed in RADIUM GIRLS.

I contacted him about the project. The Good News: He looked a bit like Dean. The Bad News: Very limited acting experience. For the next 18 days, We both worked our asses off to get where we needed to be.The show opened and he was GREAT!! He knew all his lines while commanding the stage for a good 70% of the show.

Fast forward to 2018. I decided to turn the stage play into a feature screenplay. No longer limited by a theater stage, my Jimmy could drive all over Los Angeles in his brand new (9 days old) ‘55 Porsche Spyder on the night before he died. Oddly enough, the screenplay was practically all new material. The only stage play scene to survive was a nightmare Jimmy experiences involving his long-dead mother, Mildred.

Photo: Travis Robeson (as James Dean).

Great post Ashley Renée Smith! One decision that changed everything for me was choosing to lean into the emotional truth of a moment instead of the “smart” production plan. On The Misstep, I rewrote a key beat the night before shooting because the original version felt too clean, too polite for what the character was actually carrying. It meant rearranging the shot list and embracing a bit of chaos… but the performance that came out of it shaped the entire film.

It taught me that sometimes the best decision is the one that feels risky in the moment, that honors the story instead of the schedule ;)

One decision that completely changed a project for me was building my own table instead of trying to “fit” into someone else’s system. At the time, it felt like a small pivot. I just wasn’t seeing the opportunities I needed, so instead of waiting for a seat, I started creating my own lanes, my own projects, my own writing groups, and my own pipeline.

That decision shifted everything. It gave me control over the type of stories I tell, the people I collaborate with, and the pace I move. It also forced me to level up fast because now the responsibility sat squarely on me. No more waiting, no more “unfortunately….”

The biggest unlock is realizing you don’t need permission. You can build the room, set the tone, and invite the right people in. That changed the game for me.

How would I be able to make fun animation concepts involving female characters who are muscular? My colleague says is too weird and I should ditch the premise. So I decided to ditch it for the animated sitcom. But it really makes me want to do a different concept this time whether it is a lab accident where a lone clumsy female scientist gets spilled by a growth serum or a female archeologist discovered an enchanted statue that turns you into a muscular figure and reverts while trying to discover her slice-of-life adventure. Yes, both my concepts are weird, but sometimes weird is part of my agenda. Apparently, I would be able to find a fantasy writer and a comedy writer who believes muscular female characters are weird ideas but brilliant comedy premise. I don't want to hurt my colleague's feelings because of my weird obsession. What should I do? Should I give up the idea or stick it into a different concept?

I do have unexpected things happen on my projects. I believe problem-solving, sometimes on the spot, can be a huge key.

Adding more character dialogue and changing story plots

When I made my short film Hey Alexa, I didn't direct it. I wrote it, produced it and many other hats but the one thing that I should have done was direct it. It turned out great, not saying that but once I saw it, I realized I made a mistake. Now, I must say, the woman who did direct was the one that got me to get off my butt and do it. I also got to know what film festivals were all about and that world. But I also found out that film festivals really want the director - but will accept the producer. :). I don't know it would have made a difference but I do kick myself for spending that money and time and having a really quality piece of work made that I didn't use as a calling card for myself. Lesson learned!

Receiving script notes that pointed out a secondary plot left unfinished - I didn't realize I had inserted an unfed red herring!

I recently had a series I developed and pitched around to buyers in LA… It had a lot of solid elements - was very well received…. just didnt find the right home.

Instead of shelving it, I stepped back and asked a different question: Is this actually an American project?

Our showrunner was Canadian…. the lead actor attachment happened to be Canadian…The themes had a tonal alignment with Canadian buyers. So I suggested we reimagine the project through a Canadian lens and take it out in that market instead.

Same core idea. Different positioning. That shift changed everything…. we went from lukewarm U.S. traction to multiple offers in Canada and eventually made it all the way to a conditional green light.

We forget sometimes that the US market isn’t the only landscape to put together a project. That said, it’s important that the material and package make sense for whichever buying market you’re targeting.

Ashley, great question — one decision that completely changed the outcome of a project for me was removing explanation and allowing silence to carry meaning.

In an early draft, I had characters explaining the mythology directly. Structurally it worked, but emotionally it felt flat.

When I reduced exposition and trusted atmosphere, behavior, and image instead, the story became more immersive and unsettling. The audience experienced the uncertainty rather than being guided through it.

The lesson for me was that clarity doesn’t always come from explaining more — sometimes it comes from allowing the story space to breathe and letting subtext carry weight.

Since then, I often look for moments where dialogue can be replaced with tension, rhythm, or presence.

One thing that changed the movie for me was changing my mindset. This movie I was working on wasn't going to way I wanted and I was complaining to a friend how much I didn't l like the direction. He listened and said "I hear you, you have to stop complaining. How many people get to be in the position you are in and make a movie?" I listened to him and changed my mindset and it changed the way I think about movie-making for the better.

Great question, Ashley. I made all the mistakes mentioned by others here in their writing and directing independent feature films. I graduated in 1970, from San Francisco State University, with a BA in film production. I went to Oslo, Norway and worked on the crew of a small film production. We made comedies mostly -- in the Norwegian language. Then five years later I came back to the states and made independent feature films. I didn't know anybody in the film industry; but I knew how to make films in 35mm, so I did -- with my own money for the most part. They were all non-union, with one exception. I enjoyed shooting and directing movies, and I edit them. Since I worked in 35mm film labs, I knew how to cut the negative and print my own films. I bought complete film lab equipment. Even though none of films were nominated for Oscars, I did enjoy filmmaking. I am still learned though, and what I'm reading here is very exciting -- Vic Alexander

For me, it was a short where I wanted to open in black and white and gradually reveal color until we landed in a fully red environment during a Flamenco performance at a bar. My editor talked me out of it before we even tried it. And I let him. That's the decision that changed everything, not the creative choice itself, but the choice to skip the experiment.

My rule now is: if we have the time and budget, we try it both ways. Even if everyone in the room is convinced one way is wrong. "I'm sure it won't work" is just a guess wearing a suit. You cannot know until you see it on the timeline.

A recent example was the decision to make a character in an episode of my show plus-size. Adding a recent weight gain to her, in addition to the backstory and character she already had, really did open the character's psyche up to me, and over time I defined her a lot further into a much more interesting, fleshed out character than the original idea I had in mind. It started from changing her weight, which proved to be the catalyst to understanding and expanding her character. In the long run, her more developed character led to a restructuring of the plot into something less generic and a lot more interesting.

When I began sending out cold query letters. That usually doesn't work. This time, it did, and a producer optioned my script, a shot through the heart.

Due to inexperience, I entrusted the editing of my novel and its translation into a script — to AI. But after reading the result, I realized that if you want it to be good — do it yourself. I had to spend another month in order to correct my novel on my own, and I am only now starting to correct the script. I am glad that I made a mistake, because by correcting mistakes, I learned a lot!

I create way more than i would ever wanna make myself, so I find dont value one project too much, $5.. $40.. nothing. its ink. and paper.. mostly. Write up something each day... start day 1.. 1 thing. day 2.. 2 things.. day 3... three things. i went to 26. Instead I write whatever I want, to or for, whoever I want. And you would be surprised how many people are flattered if you sent the project to their agent then they forwarded it, too them cause it was that good.. , and was like. . cool. And all you said was.. I would love to see you do something like this... not only can they all say no. they do.. mostly say do you have a complete script... or.. they likely wont answer. They might have read it. You dont know ever.. That is all you get. something in your sent box. Be more creative is all im saying.. Write up ideas for people that arent done... and seee. But you might see them in a interview and they do a shot out to you without saying you... or talks about how they have been "thinkn on a storyline they might do.. or all green light man.. or pulling lines for a different project and putting it in their movie.. i got a whole paragraph in a movie.. verbademn.. its awesome to hear any line you wrote in anything n movie or tv.. a line from your project, you sent free.. and it tells you, you are really right there. right then. that door is still open for more ideas, and they are way cooler than y o u thought. Mostly singers. .. they make a ton of videos and are mostly out of ideas after a number of years. Song ideas.. concepts to songs.. and video ideas.. you get to see something you were just like.. this would be cool to see.. a free to them project, cause you love them as a artist. like a "buy them a drink.." your stuff as the real video.. forever on that song. Its a trip. Its awesome. Those are my best ideas. Actors want full project ready to go. Their Agents do Too. or dont bother unless its like a good idea, and you are like.. you can have it?? It might become in a commercial for them... it might be a print ad. They make their money, other ways on the side. Thats where cool ideas go. If you have commercial for a brand and dont need paid.. write the marketing director of the product, to see it done. If you want to see something new in a car.. you write their facebook. you gotta say im not patenting it i just wanna see it. Check this idea out. U gotta find a director producer that likes ideas, and answers emails, and they are ready to go, in this industry. Good Luck..

Yeah I had one of those moments with shooting my feature Pure Vortex. In the film I had the main character's voice over and two days before we were scheduled to shoot the voice overs I started thinking what if changed the VO to a 4th wall break, because I was afraid that we didn't have enough footage to go over the VO. So we shot it that way and I'm really happy that we did because it works a lot better that way.

Not to be negative, but this just happened to me.

My best decision recently was to exit a project.

I was tasked with finding 50% of the budget (roughly 750K), physical producing on set in another country and acting as the sales agent / sales lead.

I found the money and decided it was time to nail down some details based on a few sketchy comments that the other producer made. I had completed two projects with this same team before, so I let the comments go aside from pointing out the error in said comments.

They sent me a budget and some elements to pass along as I set to secure the 50% funding, only to find that I was the lowest paid person on the ENTIRE crew - including production assistants. Talking 6K against roughly 1.5M.

When I questioned it, they apologized and doubled the fee without trying to properly negotiate or ask expectations. When I said that wasn't the solution to this problem, and I wanted to loop in my management to avoid any hard / personal feelings - the team went completely ballistic on me.

Their logic was that they suffered more on the last film, so it was my turn to "suffer" on this one. They had budgeted themselves in the 35-45K range EACH as writer/producer and director/producer.

What I was ultimately asking for was 3% finders fee on the share of the money that I found, not against the budget. And I was at the time willing to accept the other lumps as part of "independent filmmaking" with people that spend 2 years telling me we were ride or die together.

When I involved my reps and asked for 3% (their original offer reflected .9%, their second offer was 2%) they told me I was greedy, I was in it for a cash grab, involving management was a bad move and all sorts of other cliched gaslighting tactics to make me less than them.

I excused myself from the project, wished them the best of luck and told them that I didn't take it personally on this one and we'd find something to work on in the future. They chose to take it personally, severed friendships and lost not only my equity, but their other investor who preferred to work with me over their poor communication tactics.

But in the end - I learned that I not only was not their friend, but that I was not their ride or die - I was a tool to get their dreams made and was meant to be their personal assistant. They in turn lost their entire project and Im now working on putting those resources into a project of my own where people will not be told they are worth more or less than anyone else on set.

My creative risk came a dozen years ago with a short film I wrote and directed. The lead character was an older, terminal, patient visited sequentially by death as a man, woman and child to assure him the afterlife was nothing to fear. Casting the patient was problematic because we didn't have a likely candidate among our pool of actors we usually worked with. Unexpectedly, a voice acting coach who conducted training sessions in the meager studio we used declared he wanted the role. He seemed to be a fit, experienced industry professional, presented himself as a producer, and was clearly good at his niche. We didn't even audition him we were so relieved to seemingly have solved our casting problem, confident he would be ready with so much lead time.

Shoot day was about 3 weeks off and securing our location and props occupied our attention. The big day came, we started early in the morning with supporting scenes and pickups so those actors could be wrapped without sitting in holding all day. It was evening before we got to the main scenes. Minutes before the first one, the patient walked up to me and said the script had left his head. What did I want to do? After conferring with my DP and Sound guy, we decided to have a PA hold the script close enough for patient to read his lines but out of frame. It was not ideal and the production was not all that we hoped for but we made it through, wrapping fairly late at night.

In hindsight, we should have auditioned the voice coach for the patient role and should have held a table read to confirm all the cast were prepared. Those were my creative risks.

https://www.youtube.com/watch?v=KiWoKDilelg&feature=em-share_video_user

This isn't for one specific project, but more generally, and it's just trying to have more fun with what I'm doing, and making sure everything serves me in a positive way. We're so lucky to be working in film & TV, but it's easy to get bogged down by tough times in the industry, project rejections, things stalling etc. Choosing to keep re-connecting with why I'm doing it (to help tell great stories) and the elements of my job that I love, especially when the shit hits the fan in other areas, is what keeps me going!

@Bana, what I love most here is the lesson it gave you. Realizing in real time how dense action lines can feel when you’re the one reading them out loud is such a valuable perspective shift. That kind of awareness is hard to teach, you usually have to experience it.

And the fact that it pushed you to be more intentional and sparing with your writing is huge. That’s the kind of adjustment that makes scripts stronger and more readable across the board. Do you think narrating changed how you hear your writing in your head now when you’re drafting scenes?

Darrell Pennington I completely understand why that felt like a tough consideration at first. Changing format can feel like you’re rewriting the DNA of the project. But the fact that you’ve come around to feeling excited about it is a really great sign. As you head into the rewrite, are you finding that you’re cutting material down, or are you actually rethinking the structure and tone of the show entirely?

@Preston, you’re absolutely right, forgettable villains often lead to forgettable films. If the antagonist feels real, layered, and compelling, it automatically raises the stakes for your hero and makes the audience more invested in every moment. Did focusing on the villains end up influencing how the hero was written or performed as well?

@Pat, shifting from episodic to an 80+ minute feature is a big creative pivot! How are you approaching the adaptation so far? Are you finding it’s more about condensing the story, or are you restructuring it entirely to fit a feature arc?

@Cynna, I love what you said about the complexities of just being who they are informing the story. That’s where characters really start to feel authentic and layered. Have you found that this shift changed specific plot points or character relationships in ways you didn’t originally expect?

Ashley Renée Smith I have probably restructured it about 80%. Completely changed the death of one character to another and now I think have refocused the story more in line with my original intent. Having a Producers eyes on it and him being completely honest with the changes that were needed but also supportive in the story as a whole and the writing/execution has been the key for me being open to this approach. Not gonna lie, when I first heard it my brain said 'No way' haha. But I kept listening and he was really able to convey why he felt it needed this overhaul. I woke up with the new opening and it paved the way for restructuring most of the entire pilot.

@Robert, absolutely! What feels clear or intentional on the page can land completely differently once an actor brings their own interpretation. Sometimes that change is unexpected in the best way. Do you find yourself leaning into those interpretations and shaping the material around them, or do you tend to adjust the performance back toward your original intent?

@Adam, this is such a powerful journey, thank you for sharing it. What stands out most to me isn’t just the pivot from novel to screenplay, it’s the identity shift you described. And the fact that it came from following your curiosity, taking a story you wrote and asking, “what else could this be?”… that’s exactly how so many creative paths begin. You’ve made some really meaningful decisions that are clearly shaping both your life and your work. Thats amazing!

Tom Stohlgren What really stands out is that you’ve normalized rejection as part of the process instead of letting it define your progress. That’s something a lot of writers struggle with. You’ve clearly built a system for yourself that keeps you moving forward no matter what and that's so impressive! Do you feel like your background in science has influenced how you handle feedback?

@Ana, I love what you said about how even strategic choices started to feel different once that emotional layer was there. That’s exactly where tension deepens, because now every move has consequences beyond the plot! Fantastic! Those shifts aren't always flashy, but they ripple through every scene.

@Sofia, It also sounds like it aligns more truthfully with the themes you’re exploring. And you’re right, when a character decision makes the story feel like it “just flows better,” that’s usually a sign you’ve tapped into something authentic.

Darrell Pennington, Having a producer who can be both honest and supportive is incredibly valuable. It sounds like this version is going to come out stronger because you're open to the feedback you've received. It's definitely hard to take notes on something you care about and have put so much work into, but it will make you a better collaborator and creator in the long run.

@Ibrahim, What you’re describing goes far beyond a creative decision, it’s a purpose shift. And those are often the ones that have the biggest impact, because they influence not just one project, but everything you create moving forward. That's huge! What kind of stories are you most drawn to telling now that you’re building with that legacy mindset in mind?

@Cheryl, thank you for sharing this so openly, because this is such an important lesson and one that so many people learn the hard way.

You’re absolutely right, vetting your collaborators is everything. Talent and accolades don’t always translate across genres, and comedy especially has such a specific rhythm and sensibility. If someone doesn’t feel it, it can affect the entire tone of the project.

And beyond that, the collaboration dynamic matters just as much as the skill set. A controlling or condescending environment can impact not just the work, but the entire experience of making it. And honestly, the fact that you exec produced, wrote, and acted in your own web series is still a massive accomplishment, regardless of the challenges.

If you were to do it again, what are a few key things you’d look for or ask upfront before bringing someone onto your team?

Bill Brock, what an amazing story! Thank you for sharing that with us. That moment of losing your lead three weeks out, that’s every creator’s nightmare. But the way you handled it, trusting your instinct, taking a chance on someone with potential, and then putting in the work together to get him there, that’s what makes the difference. This is such a great example of adaptability. It's incredible that you trusted your gut in that way.

My idea of casting is looking for new actors and actresses. Probably broadway

I couldn't be prouder of all you've accomplished, Sandra Correia! I love that you trusted your instincts, especially the night before shooting. That’s not an easy call to make. Also, embracing a bit of chaos on set in service of the story… that’s where some of the most memorable moments come from. Sometimes it's just as important to play and have fun as it is to keep every single element on track.

MB Stevens This is such a great reminder for anyone feeling stuck waiting for a “yes.” Creating your own projects, your own groups, your own pipeline, that’s how momentum builds in a real, sustainable way. And it often attracts the right collaborators because you’re setting the tone from the start. Bravo!

Chase Carmichael I’m really glad you shared this, because this is exactly the kind of crossroads a lot of creatives hit. In animation especially, weird is often the point. Some of the most memorable, successful shows exist because someone leaned into something unexpected instead of playing it safe. Now, about your colleague, it’s okay that their taste is different. Not every collaborator will connect with every idea. That doesn’t mean the idea is wrong, it just means it may not be their project.

You don’t have to abandon something you’re excited about to protect someone else’s preferences. But you also don’t have to force them to work on it either. Because here’s the truth, the energy you have for an idea matters. If you’re excited about it, that’s worth paying attention to.

And you’re already thinking in the right direction, pairing a fantasy writer with a comedy writer who understands the tone could really help bring it to life. Don’t shrink your ideas to fit someone else’s comfort zone. Refine them. Strengthen them. Find the right collaborators.

@Jason, absolutely, and honestly, that’s one of the most underrated skills in filmmaking. And in life. And sometimes those “problems” end up creating something better than what was originally planned.

Nicholas P Those kinds of decisions often come from really listening to the story and recognizing where it needs more clarity or energy. Did those changes come from feedback, or was it something you discovered while working through the draft yourself?

@Xochi, that's a huge lesson to take forward. First, I just want to say, getting the film made at all is a massive accomplishment. And it sounds like that experience gave you so much, not just the finished project. And it sounds like that next step is clear. Cheering you on always! =)

Debbie Seagle this is such a great catch, and honestly, such a common one. The fact that you caught it through notes is exactly why that step is so valuable. It gives you the chance to either fully pay it off or tighten the story by removing it altogether.

And sometimes those moments actually make the script stronger, because they force you to clarify what the story is really about and what deserves focus. Did you end up weaving that subplot back in with a payoff, or deciding to streamline and cut it?

I had to read the script in order to understand why it wasn’t getting noticed and adding scenes to it was the best decision I made. Adding characters was another. Someone operating behind the scenes and driving the plot. So I was my own critic and I had to do what is best Ashley Renée Smith so it is better

Laura Notarianni, I love that instead of shelving the project, you asked a better question. That shift from “why isn’t this selling?” to “where does this belong?”! And going from lukewarm traction to multiple offers and a conditional green light… incredible! That really says it all. This is such a valuable reminder for everyone here that sometimes the solution isn’t rewriting the project, it’s repositioning it.

Charmane Wedderburn you’re absolutely right, clarity doesn’t always come from saying more. Sometimes it comes from guiding the audience just enough and then trusting them to lean in. It also sounds like that decision didn’t just impact that one project, it’s shaped how you approach writing overall, which is always a sign of a meaningful creative breakthrough.

Chris Coggins, I love this!! And you can feel the impact of that mindset change. When you move from resistance to appreciation, it opens you up creatively. You start looking for solutions instead of focusing on what’s not working. Filmmaking is hard, and things rarely go exactly how we imagined. But being in a position to make something at all is something a lot of people are still working toward.

@Vic, that's an amazing journey! What really stands out is how hands-on and self-driven your path has been. You didn’t wait for access or permission. You learned the tools, invested in yourself, and made the films anyway. The fact that you kept creating, kept learning, and are still engaged and excited by these conversations says a lot.

@joshua, “I’m sure it won’t work is just a guess wearing a suit.” That’s gold. It’s so true. So many decisions get made based on assumptions instead of evidence. Now you’ve taken that experience and turned it into a creative principle that’s going to serve you on every project moving forward. That’s a huge win!

Jeffrey Pemberton this is such a great example of how a specific character choice can unlock an entire story. It also sounds like it gave you a stronger sense of her voice and how she moves through the world, which tends to ripple into every scene. Did you find that once you made that change, her relationships with other characters shifted as well?

John Radtke that’s an incredible outcome, congratulations! You’re absolutely right that cold queries usually feel like a long shot, which makes this even more powerful. It’s such a great reminder that sometimes the things we’re told “don’t work” still can, when the material is strong and it reaches the right person at the right time.

Alena Karamazova Tools can be helpful, but they can’t replace your voice, your instincts, or your understanding of the story you’re trying to tell. That connection you have to your work is what gives it depth and meaning. What I really love here is your perspective, you didn’t just see it as a setback, you saw it as a learning experience. Thats really powerful.

David Ramey Gordon David, there’s a really interesting mindset in what you’re sharing, especially around not over-attaching to any one idea. It sounds like you’ve built a really strong habit of generating ideas, which is huge.

Vital Butinar, this is such a great instinct, and a perfect example of adapting in service of the story. The fact that you’re happy with how it turned out is the biggest indicator that you trusted the right instinct in the moment.

Sean Flanagan, this isn’t negative at all, this is one of the most important decisions you can make in this industry. Walking away from a project, especially after you’ve already invested time, relationships, and secured financing, is one of the hardest things you can do, and it takes a lot of clarity and self-respect. What you said at the end, that you’re now channeling those resources into your own project where people are treated fairly. That’s the real win here.

Jack Teague what stands out is how you handled it. You didn’t panic, you problem-solved. Bringing in a PA to hold the script and finding a way to keep moving is exactly what gets projects across the finish line when things don’t go as planned. And honestly, the fact that you still got the film made despite that challenges says a lot about your team and your leadership under pressure.

Christina Pickworth this is such an important and grounding perspective! Choosing to reconnect with why you’re doing this, especially when things get tough, is one of the most powerful decisions you can make. It’s so easy to get caught up in the noise and lose sight of the fact that we’re doing something we genuinely care about.

I love that you framed it as making sure the work “serves you in a positive way.” That’s such a healthy and sustainable approach, especially in an industry that can be unpredictable. It also sounds like you’ve built a really strong internal compass, something you can return to when things get overwhelming. Do you have specific ways you reset or reconnect with that mindset when things start to feel heavy?

Ashley Renée Smith Definitely. Sometimes the story shifts because who they are at their core sometimes appears differently based on those seeing them and interacting with them. Plus, sometimes they're still learning their own strengths and weaknesses at their core so- what it starts out as isn't always how they progress as we hit certain points which suggest new motivations or goals. Definitely more conflicts.

Ashley Renée Smith Great question this is so true.

For me, one key decision was rewriting a scene much later than planned. Initially, I thought the original version worked, but once I revisited it, I realized the emotional core wasn’t strong enough.

Changing that one scene ended up shifting the tone of the entire project and made the character journey much clearer.

It taught me that sometimes the smallest creative decisions especially around character can have the biggest impact on the overall story.

Ashley Renée Smith Well the casting had no impact on the script, which our director followed like it was handed to him by the Archangel Gabriel himself.

As for how it impacted the performances, I invite you to watch the film and judge for yourself.

https://www.amazon.com/Frontier-Crucible-Travis-Mills/dp/B0FYTJTKNF/

Ashley Renée Smith You are simply an amazing person! To give your precious time to everyone — that is the height of humanity!

Ashley Renée Smith Yeah. She was already a character who had been through a lot of recent grief and loss, so by adding her weight gain it became a visual indicator of that pain she's carrying. Plus, it contrasts with how she presents herself. She tries to project a confident, unhurt air, even though she's hurting quite a lot underneath. So her increased weight became a way of showing the inner tension: she's trying to make it seem like she has it all together, but her body says there's something wrong internally.

Biggest thing I learned is to trust no one, always do your homework, keep your shirt tucked in, and have a good attorney.

This really resonates — especially the idea of removing explanation and letting presence carry meaning.

I think what’s interesting is that silence doesn’t just create atmosphere, it also shifts responsibility. The audience is no longer being guided, they’re being asked to observe — and that changes how they engage with the story.

In a way, it turns watching into participation rather than consumption.

Ashley Renée Smith Yes. My background in science helped me develop a work ethic. I was the first and only family member to graduate from college. I knew my odds were slim to become a scientist. I worked and paid my way through three degrees, competing with young adults who had tuition and living expenses paid by their parents. I learned to deal with rejection and self-doubt with each renal optimism. I still have after over 30 years in the sciences. But I also saw that underrepresented students were passed over in the system. I vowed to take diverse graduate students. To this day, many of my lead characters come from diverse backgrounds. My "brand" is to stay optimistic and change the status quo. Society and our industry have a long way to go.